Synopsis Inspired by one of the great passions of the modern age, Shoes explores the gamut of footwear, from the highs of the Louboutin to the lows of the Croc. Composed by Richard Thomas, in his first large-scale production since the legendary West End and Broadway hit Jerry Springer - The Opera, and featuring the work of a team of leading choreographers, Shoes is a dance revue that sees life told from street-level perspective with wit, irreverence and affection. Running time 1hr 56mins (inclu. 20min interval)
There can’t be a better time for a song and dance show about shoes. Ever since Carrie Bradshaw sashayed her way through Sex and the City murmuring “Manolos” way back in 1998, we’ve been besotted with designer footwear and the celebrities that endorse them.
Jerry Springer - The Opera writer Richard Thomas is the ideal person to depict our fixation. He’s teamed up with West End supremo Stephen Mear (Mary Poppins, Hello Dolly!, Sweet Charity), and together they’ve created a funny, feelgood production that sees us obsessing over Uggs and pining for Berkenstocks. They also show us struggling to walk in stilettos, flapping about in flip-flops, and the ever-astonishing Imelda Marcos justifying her shoe collection. The show keeps its criticism light, providing only the gentlest reprimands of what is, in the cold light of day, an irrational fantasy. Expensive shoes may be ingeniously designed and beautifully made, but they will not make us happy or attractive, and we tire of them almost as soon as the High Street variety.
Shoes is a two-hour show of musical numbers with 12 dancers, four singers and a live band perched on a platform above the stage. The music and lyrics are by Thomas, some co-written with Alethea Wiles, and most of the moves by Mear with additional choreography by Sidi Larbi Cherkaoui, Aletta Collins, Kate Prince and Mark Smith. The set by Tom Pye includes a huge stiletto which the dancers use like a giant slide, with the overall look and feel reminding you of up-scale retail.
Everything is cleverly done, but we don’t get much insight into why we are so vulnerable to designer marketing, and the clever people who dream it up. Instead we get a larky two-hour revue-style show that will have you laughing out loud. There are lots of good scenes, especially the perky Ugg sequence, with ever-so-droll lyrics and the dancers wearing short-skinned lamb skin romper suits as well as the famous fluffy boots.
Many will have hoped for an occasionally sharper tone from the man whose irreverence made Jerry Springer so innovative.
This show was awesome. Even though it was about shoes (a subject that is very close to every womans heart especially mine!) there was plenty of humour content to entertain the many men who were in the audience. The dancers were fantastic and proved their ability by dancing in every kind of shoe from a very high stiletto to a pair of skis!! The singers were great especially the exceptionally talented Tim Howar. I do hope this show goes on tour because everyone needs the chance to see it! - Kaz
12 Sep 10
Best thing I have seen in ages. A breath of fresh air compared to most of the shows in the West End. Quirky funny, and very clever. The dancers were of a very high standard. Girl with a short bob amazing. Would love to see it again! - Annie Davies
11 Sep 10
I couldn’t describe this show better than its own billing - a ‘Dance Revue’ about shoes! This could so easily fail and come out as tacky showbiz, but in the hands of Jerry Springer – The Opera creator Richard Thomas and inventive choreographer Stephen Mear it’s a whole lot of fun.
Who’d have thought you could come up with so many clever ideas about footwear; here there are some 30 ‘numbers’ including health and safety advice for walking in high heels, how Hush Puppies can help the promiscuous, Imelda Marcos’ infamous obsession with shoes and the worship of everything from Flip Flops to Ug’s to Jimmy Choo’s (but not Crocs!).
The dancing is terrific and the songs are good (with often hysterical lyrics). Tom Pye’s design, with Laura Hopkins costumes and Tim Hope & Gaelle Denis’ projections, is a colourful gaudy feast for the eye. The dancers are hugely talented and the singers top-notch. A small 8-piece band plays as if their lives depended on it.
Not everything works as well as the high spots and they pull more punches in the first half than the second. I found the opening number too much to take in whilst adjusting to a very different type of show and the sound occasionally buried the lyrics (co-lyricist Alethea Wiles), but these are small points because this is something completely different that continually surprises you, makes you smile from start to finish and above all is original and fresh. A wonderful post-Edinburgh treat to kick-start the autumn season in London. - Gareth James
Closed 23 June 96 to October 98 for a £48million refurbishment. On 3 Jun 1683 a Mr Sadler opened a pleasure garden at a country spring, this became known as Sadler's Wells. A wooden stage, later enclosed, there was known as Miles' Musik House. Theatre started in 1753. In 1765 a new theatre was opened. For a period it was the Aquatic Theatre with a floodable tank on stage, reverting to its current name in 1844. Closed in 1878 (had been a skating rink and a boxing ring). Re-opened 1879. Closed in 1906. Lilian Baylis opened a theatre there in 1931. Lilian Baylis was the niece of Emma Cons, the first woman member of the LCC and the freeholder of the Royal Victoria Hall and Coffee Tavern (now the Old Vic). Became a solely ballet and opera venue in 1934. Sadler's Wells was the original home of the Royal Ballet (then the Sadler's Wells Ballet) and the opera company from here moved on to the Coliseum. 1500 seats. Now has its own well back in use for the cooling system and bottled water. Very major refurbishment completed in 1998. Society of London Theatre member.
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